THE REASON YOU'RE ATTRACTING ARTISTS ON INSTAGRAM? YOU'RE TALKING LIKE ONE.
Find out how to attract the people who might actually BUY your work instead.
THE REASON YOU'RE ATTRACTING ARTISTS ON INSTAGRAM? YOU'RE TALKING LIKE ONE.
Find out how to attract the people who might actually BUY your work instead.
THE REASON YOU'RE ATTRACTING ARTISTS ON INSTAGRAM? YOU'RE TALKING LIKE ONE.
Find out how to attract the people who might actually BUY your work instead.
YOU'RE A PROFESSIONAL ARTIST. YOU SELL YOUR WORK. BUT IF YOU WERE RELYING ON INSTAGRAM TO DO IT YOU'D BE LIVING OFF TOAST.
It's not like you haven't given it every chance. You've done the hashtags. The trending audio. Posting on a Tuesday at 7pm because someone said so.
You've made reels you hated making, hated posting, and hated watching back.
And the response is lovely. Warm comments, real engagement β from an audience that's somehow almost entirely other artists.
Some posts do well. Some sink without trace. None of them bring you buyers. So the diagnosis is clear:
"I just need more followers."
But you don't. You need DIFFERENT ONES.
More followers like the ones you've got is just a bigger room full of artists. Lovelier comments.
Not a penny more in sales.
Because the buyers you actually want? They're not on Instagram looking for art. They're looking for themselves β their interests, their preoccupations, the things they care about. And Instagram's job is to serve them exactly that.
So it reads the words around your work to figure out who should see it. And when your captions talk about glazing, underpainting, and what's currently on the easel, Instagram draws the obvious conclusion:
This is content about art, for people who make it β and delivers it to yet more artists.
Every warm comment from another artist confirms it made the right call. The better your posts do with the audience you've got, the harder Instagram works to find you more of the same.
Every new artist follower makes the number look better β and the problem worse.
THAT'S THE ARTIST FOLLOWER TRAP.
Instagram's not ignoring you.
It's doing exactly what your words asked.
YOU'RE A PROFESSIONAL ARTIST. YOU SELL YOUR WORK. BUT IF YOU WERE RELYING ON INSTAGRAM TO DO IT YOU'D BE LIVING OFF TOAST.
It's not like you haven't given it every chance. You've done the hashtags. The trending audio. Posting on a Tuesday at 7pm because someone said so.
You've made reels you hated making, hated posting, and hated watching back.
And the response is lovely. Warm comments, real engagement β from an audience that's somehow almost entirely other artists.
Some posts do well. Some sink without trace. None of them bring you buyers. So the diagnosis is clear:
"I just need more followers."
But you don't. You need DIFFERENT ONES.
More followers like the ones you've got is just a bigger room full of artists. Lovelier comments.
Not a penny more in sales.
Because the buyers you actually want? They're not on Instagram looking for art. They're looking for themselves β their interests, their preoccupations, the things they care about. And Instagram's job is to serve them exactly that.
So it reads the words around your work to figure out who should see it. And when your captions talk about glazing, underpainting, and what's currently on the easel, Instagram draws the obvious conclusion:
This is content about art, for people who make it β and delivers it to yet more artists.
Every warm comment from another artist confirms it made the right call. The better your posts do with the audience you've got, the harder Instagram works to find you more of the same.
Every new artist follower makes the number look better β and the problem worse.
THAT'S THE ARTIST FOLLOWER TRAP.
Instagram's not ignoring you.
It's doing exactly what your words asked.
YOU'RE A PROFESSIONAL ARTIST. YOU SELL YOUR WORK. BUT IF YOU WERE RELYING ON INSTAGRAM TO DO IT YOU'D BE LIVING OFF TOAST.
It's not like you haven't given it every chance. You've done the hashtags. The trending audio. Posting on a Tuesday at 7pm because someone said so.
You've made reels you hated making, hated posting, and hated watching back.
And the response is lovely. Warm comments, real engagement β from an audience that's somehow almost entirely other artists.
Some posts do well. Some sink without trace. None of them bring you buyers. So the diagnosis is clear:
"I just need more followers."
But you don't.
You need DIFFERENT ONES.
More followers like the ones you've got is just a bigger room full of artists. Lovelier comments.
Not a penny more in sales.
Because the buyers you actually want? They're not on Instagram looking for art. They're looking for themselves β their interests, their preoccupations, the things they care about. And Instagram's job is to serve them exactly that.
So it reads the words around your work to figure out who should see it. And when your captions talk about glazing, underpainting, and what's currently on the easel, Instagram draws the obvious conclusion:
This is content about art, for people who make it β and delivers it to yet more artists.
Every warm comment from another artist confirms it made the right call. The better your posts do with the audience you've got, the harder Instagram works to find you more of the same.
Every new artist follower makes the number look better β and the problem worse.
THAT'S
THE ARTIST FOLLOWER TRAP.
Instagram's not ignoring you.
It's doing exactly what your words asked.
DOWNLOAD THE GUIDE TO DISCOVER...
1. The single thing standing between you and your buyers β and why, until you fix it, youβll spend another year being cheered on by people who paint for a living.
2. The caption change that redirects your work to buyers β because right now your loveliest comments are coming from people who are never going to buy a thing.
3. What your bio is probably saying about you β and why the line you wrote to sound professional is costing you buyers.
4. What makes a stranger stop for your content β because theyβre not deciding against you, theyβre not seeing you at all.
5. A way to get noticed by buyers that has nothing to do with what you post β itβs the quickest route to your people there is, and I donβt know why more artists donβt do it.
DOWNLOAD THE GUIDE TO DISCOVER...
1. The single thing standing between you and your buyers β and why, until you fix it, youβll spend another year being cheered on by people who paint for a living.
2. The caption change that redirects your work to buyers β because right now your loveliest comments are coming from people who are never going to buy a thing.
3. What your bio is probably saying about you β and why the line you wrote to sound professional is costing you buyers.
4. What makes a stranger stop for your content β because theyβre not deciding against you, theyβre not seeing you at all.
5. A way to get noticed by buyers that has nothing to do with what you post β itβs the quickest route to your people there is, and I donβt know why more artists donβt do it.
DOWNLOAD THE GUIDE TO DISCOVER...
1. The single thing standing between you and your buyers β and why, until you fix it, youβll spend another year being cheered on by people who paint for a living.
2. The caption change that redirects your work to buyers β because right now your loveliest comments are coming from people who are never going to buy a thing.
3. What your bio is probably saying about you β and why the line you wrote to sound professional is costing you buyers.
4. What makes a stranger stop for your content β because theyβre not deciding against you, theyβre not seeing you at all.
5. A way to get noticed by buyers that has nothing to do with what you post β itβs the quickest route to your people there is, and I donβt know why more artists donβt do it.
I'm Karen.
A few years ago I was starting from nothing as an artist in my mid 40s β no gallery, no connections, no training, and no clue how the art world worked.
Now I'm a recurring artist on BBC One's Extraordinary Portraits.
And the BBC didn't find me through a gallery or an agent. They found me on Instagram β the same place I'd already found my collectors and built my sales. All of it came from the same thing: getting clear on what my work was actually about, who it was for, and how to talk about it so those people could find me.
Alongside my own practice, I now help thousands of artists do the same. Which is why I can give you both halves of the picture: I know how to make Instagram understand what your work is actually about, because Iβve used it to find my own buyers. And I know why people fall in love with a painting, because I sell them for a living.
The five shifts in the guide are exactly what I did. None of it's theory.
I'm Karen.
A few years ago I was starting from nothing as an artist in my mid 40s β no gallery, no connections, no training, and no clue how the art world worked.
Now I'm a recurring artist on BBC One's Extraordinary Portraits.
And the BBC didn't find me through a gallery or an agent. They found me on Instagram β the same place I'd already found my collectors and built my sales. All of it came from the same thing: getting clear on what my work was actually about, who it was for, and how to talk about it so those people could find me.
Alongside my own practice, I now help thousands of artists do the same. Which is why I can give you both halves of the picture: I know how to make Instagram understand what your work is actually about, because Iβve used it to find my own buyers. And I know why people fall in love with a painting, because I sell them for a living.
The five shifts in the guide are exactly what I did. None of it's theory.
I'm Karen.
A few years ago I was starting from nothing as an artist in my mid 40s β no gallery, no connections, no training, and no clue how the art world worked.
Now I'm a recurring artist on BBC One's Extraordinary Portraits.
And the BBC didn't find me through a gallery or an agent. They found me on Instagram β the same place I'd already found my collectors and built my sales. All of it came from the same thing: getting clear on what my work was actually about, who it was for, and how to talk about it so those people could find me.
Alongside my own practice, I now help thousands of artists do the same. Which is why I can give you both halves of the picture: I know how to make Instagram understand what your work is actually about, because Iβve used it to find my own buyers. And I know why people fall in love with a painting, because I sell them for a living.
The five shifts in the guide are exactly what I did. None of it's theory.
READY TO DITCH THE TRAP?
Five simple shifts. No desperate studio dances. Just a clearer way to put your work in front of people who might actually buy it.
READY TO DITCH THE TRAP?
Five simple shifts. No desperate studio dances. Just a clearer way to put your work in front of people who might actually buy it.
READY TO DITCH THE TRAP?
Five simple shifts. No desperate studio dances. Just a clearer way to put your work in front of people who might actually buy it.
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